View allAll Photos Tagged alternativeprocesses
Gumprint,
1-Paris blue
2- Madder lake
3-Gummigut modern
4- Phthalo blue for contrast.
Every few years in Gouda we have the harbour days, old ships come in and it is a feast. Also old handcrafts like baking fresh fish.
A ducksnest with eggs in our garden.
gumprint, paper Canson Montval 300 gr.
Pigments:
1 Paris blue
2 Madder red dark
3 Gamboge Gum modern
4 Phthalo blue
Mister blue-eyes. So sweet.
On Madeira, November 2008.
Gumprint on Fabriano Artistico HP 300 gr.
Gum over Cyano.
1. Cyano
2. Gamboge gum modern.
3. Alizarin Crimson medium
4. Paris blue.
Gomdruk, gumprint, 6 layers:
1: Paris blue
2: Gamboge gum
3: Madder lake dark
4: Cadmium yellow
5: Permanent Carmine
6: Phthalo blue
Size: 24 X 15 cm.
Gum print on Strathmore cold-press watercolor paper. Experimenting with dilute acrylic matte medium as sizing. 5" x 7"
Gum Print on Fabriano Artistico. My Grandmother Dale and my Aunt Dorothy. Aunt Dorothy always seemed incredibly sad to me.
Gumprint 16x24 cm on Saunders Waterford 300 gr.
Madeira nov. 2008.
1 Paris blue
2 Purple magenta
3 Gamboge Gum Modern
4 Madder lake medium
5 Phthalo blue
I participated in the 33rd Foreign Artists Exhibition in Nagoya from 30th October until 4th November. This year I exhibited prints from four 19th century processes: calotype, cyanotype, kallitype and Van Dyke Brown. This is one of the Van Dyke brown prints.
In 1974, while still at school, I experimented with various techniques to produce “abstract” photographs. This example was created using Agfacontour, a technical film made to create equidensities. It has both negative and positive components, which, according to the exposure given produce black and white images of a given density. For example three separations could be made for each of the light, dark and intermediate tones.
This was a time consuming business, and the film was discontinued once it became possible to make separations digitally.
Having made the separations, I went on to add colour, giving each layer a different hue. I did this in two ways, first by making black and white negatives on lith film, and using the Tetenal toning chemicals to replace the black silver image with a dye layer, as in this example. Later I used 24 x 36mm images together with a slide duplicator and added different coloured light for each layer. This was done by keeping the shutter open and working in the dark.
This composite shows the original photo alongside the final Agfacontour result.
Daughter Sylvia and her friend Ard. Photographer unknown.
gumprint, paper Canson Montval 300 gr.
Pigments:
1 Paris blue
2 Madder red dark
3 Gamboge Gum modern
4 Phthalo blue
In 1974, while still at school, I experimented with various techniques to produce “abstract” photographs. This example was created using Agfacontour, a technical film made to create equidensities. It has both negative and positive components, which, according to the exposure given produce black and white images of a given density. For example three separations could be made for each of the light, dark and intermediate tones.
This was a time consuming business, and the film was discontinued once it became possible to make separations digitally.
Having made the separations, I went on to add colour, giving each layer a different hue. I did this in two ways, first by making black and white negatives on lith film, and using the Tetenal toning chemicals to replace the black silver image with a dye layer. Later I used 24 x 36mm images together with a slide duplicator and added different coloured light for each layer. This was done by keeping the shutter open and working in the dark.
In Big Bend National Park. I carried a Chamonix 5 x 7 out into the desert. This is platinum/palladium.
Hand-coated Canson Montzval watercolor paper exposed to the sun for approximately eight minutes using a digital internegative. Original image made with a Fuji X100T.
Gumoil Raw Sienna and a light second touch of Paynes Grey.
Paper Fabriano Arttistico HP 300 gr.
Oilpaint.
New Hampshire Chronicle stopped by Photo Retro (www.photoretro.biz) last week and spent all morning interviewing owner Jason Lane and me about the shop, about analog photography and about making glass plate portraits.
We also shot an ambrotype portrait of the show's cameraman, Ryan Murphy.
They were with us for close to 4 hours and it was fantastic. I can't wait to see what the do with the segment and I can't wait to see when it airs to homes all over Southern NH.
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We had company drinking something on a terras in Switzerland.
gumprint, paper Canson Montval 300 gr.
Pigments:
1 Paris blue
2 Madder red dark
3 Gamboge Gum modern
4 Phthalo blue
Fiji | 2007
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved
Galapagos | December 2006
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved